Artist Statement

Many things inspire me to create: Personal experience, friends and family, travel, music, books, good food, old buildings, huge open fields and the ocean when it is enormous and in turmoil. I have always had a heightened awareness of the natural environment; the energy and rhythms which are ever present if you look hard enough. I make my prints, sculpture and video art from inspiration of this energy, and just as in the flow of nature, manage to breathe this life force into all my creations.

"You born with artistic eyes and hardworking hands." This is what my uncle always says to me when he sees my art. He is the only person doing art in my family before my generation. I think this sentence well described my way of doing art. Attempting to understand the complexity drives my artistic vision, I see the process of developing the concept and making art (both physically making the piece and mentally processing the idea)，the most important parts for me. I like to have a craft approach to my prints by using a mix of media; I like to approach printing techniques to my video art by using layers of colors and images. I also like to work with found objects. Through constructed structures, I let the symbolic and the imaginary perform a decisive role conveying new meanings to familiar objects and notion.

I often use the element of contrast in my work, finding and understanding the relationship between things, people and places, what happened years ago and what's happening now. My changeable personality is reflected in my art with a style that transforms and mutates with every pieces. The only constant is reinforcing this idea of emotion, the imagination within and beyond the nature, capturing sense of beauty that often accompanies each piece of art.

Miya Ando

Miya Ando is a minimalist metalworker; employing steel and pigment to create quiet, meditative environments. Working solely in two-dimensional metal panels, she combines tranquility with strength that results in landscape-like works of art made from traditional metalworking techniques.

steel, pigment, patina, lacquer12" x 12 "

steel, pigment, patina, lacquer12 " x 12 "

"My reasons for working with steel are multifold. It is dynamic, having the ability to simultaneously convey strength and permanence while remaining delicate, soft, fragile, luminous and ethereal. Metaphorically, steel's physicality can evoke steadfast truths, steel's reflective surface gives it an elusive quality that I utilize to invoke ideas about universality and evanescence - the transitory and ephemeral qualities of nature, quietude, and the underlying impermanence of all things."

- Miya Ando

Brooke Reidt

"Asphyxiation has taught me the art of effusion. I am a metropolitan mermaid with a moxie to live through constant migration. My paintings are memories, marks and maps to document my salvation from arteriosclerosis caused by oxidization. My destination is to create a contagion of demiurge through apostrophe and swell above the catastrophe caused by modern day miasma. "

- Brooke Reidt

Brooke is an emerging artist who lives and works in Los Angeles, California. I'm really interested in the concept of her work, these figures and layers of colors she uses in her work.

Gregory Crewdson

Gregory Crewdson's photographs feature a series of ongoing and possibly connected dramas, located in small town America yet conceived on a grand scale.

Untitled (Shane), Summer 2006, Archival inkjet print

Crewdson's photographs are often described as cinematic, his exteriors are repeatedly caught at moments of changing light and his interiors are often patterned with complex pools of illumination. Each image operates as a compacted drama, with the significance spread between various visual points within the image. It is between these points that a density of meaning and narrative is constructed; in this sense, Crewdson references classical ideas of symbolic representation that are located in painting rather than cinema, or even photography. Within these settings, his subject matter often suggests climactic moments in human relationships—though quite what these are remains ineffable.

Untitled (birth), Winter 2007, Archival inkjet print

Untitled, Summer 2003, Digital C-print

Woman in flowers, 1998-2002

Crewdson's photographs are located firmly in the present tense. The strength behind his photographs lies in their ability to stage – and then extend indefinitely.

Matthew Ritchie

Matthew Ritchie's installations of painting, wall drawings, light boxes, sculpture, and projections are investigations of the idea of information; explored through science, architecture, history and the dynamics of culture, defined equally by their range and their lyrical visual language.

"The Universal Cell" Whitney Museum of American Art, New York 2005


"The Universal Cell" Whitney Museum of American Art, New York, 2005

Matthew Ritchie's work takes a basic line and takes it farther in meaning, in space, and in motion. He is a lover of layers, both literal and conceptual. His art goes back and forth between computer generation and hand execution: Imagery is drawn, scanned, projected, traced, scanned again, and printed and animated in myriad ways. The large framed canvases build up layers of different mark making: stains, drips, loops, and squiggles that constantly play off the macro and microcosmic.

"Parents and Children" Andrea Rosen Gallery

"The Morning Line" Andrea Rosen Gallery, 2008-2009

More omnivorous than omnipotent, encompassing everything from cutting-edge physics, ancient myth, neo-noir short stories and medieval alchemy to climate change, contemporary politics and economic theory, his installations fuse unique narrative forms with our constantly changing factual understanding of our universe.